Honford Star, a prominent publisher of translated Korean speculative fiction, has released three compelling horror works that reimagine the supernatural terror of H.P. Lovecraft through a distinctly Korean lens. The Lovecraft Reanimated Project features two novellas and one graphic novel that transport the American writer's signature cosmic horror from his early 20th-century New England settings to contemporary South Korea.
H.P. Lovecraft (1890-1937) built his literary reputation by weaving supernatural horrors into the fabric of everyday reality, drawing from the darkest aspects of human existence. These three Korean works honor that tradition while addressing uniquely modern Korean experiences and social issues. The stories explore themes ranging from workplace misogyny to academic skepticism, all wrapped in the tentacled embrace of Lovecraftian dread.
"Come Down to a Lower Place" by Yi Seoyoung, translated by Janet Hong, follows Seul, a woman working at a shopping mall who becomes plagued by an inexplicable body odor that she cannot eliminate. As she ventures into the basement levels of her workplace, she uncovers a malevolent force that has infected not only her body but the very fabric of reality itself. The novella serves as a sharp critique of contemporary misogyny, examining how men in Seul's past and present have disrespected both her body and the mysterious stench that accompanies her.
Yi's work dissects society's preconceived notions about how women's bodies should appear, smell, and exist in public spaces. Through the compact horror format, the author reveals the complexity of the male gaze and women's internalized scrutiny of their own bodies. The evil that haunts Seul represents persistent societal attitudes that continue to plague women today, manifesting as both literal and metaphorical contamination.
"The Call of the Friend" by JaeHoon Choi, also translated by Janet Hong, presents the story of two university students, Wonjun and Jingu, who struggle to cope following the sudden death of a K-pop trainee. As the collection's only graphic novel, this work relies heavily on visual storytelling techniques, using shadows and negative space to create an atmosphere of creeping dread. Monsters lurk in every panel, while characters' eyes bulge and bodies become increasingly distorted as they descend into psychological darkness.
Choi's artistic approach features prominent streaks of faded figures and blank, staring faces that plague the narrative like tentacles of grief itself. The visual representation captures how profound loss can consume individuals, transforming them into hollow shells of their former selves. The graphic novel format allows readers to witness the characters' physical and mental deterioration in real time, making their descent into madness all the more visceral.
The third work, "Alien Gods" by Lee Suhyeon and translated by Anton Hur, centers on Minsuh, an anthropology student researching Korean shamanism. Minsuh approaches her subject with strong academic prejudices and rational skepticism, determined to expose what she believes to be elaborate trickery behind traditional Korean spiritual practices. However, her rigid rationality ultimately becomes her downfall, attacking her psyche and forcing her to confront a reality far more complex and terrifying than her academic worldview could accommodate.
As Minsuh's skepticism crumbles, so does her flesh and sanity, revealing a universe that operates beyond the bounds of scientific understanding. The story masterfully blends mysticism with supernatural horror and science fiction elements, creating a rich narrative tapestry. Lee explores how tunnel vision created by rigid beliefs can blind us to other possibilities and realities that exist beyond our comprehension.
A particularly striking passage from "Alien Gods" encapsulates the existential dread that permeates all three works: "Of course, I understood there was no real narrative arc to life, our narrator Minsuh thinks, no cause and effect to everything. We can never comprehend the complexity of the universe; the universe is always indifferent to us, and most things happen for no good reason. There is no such thing as intrinsic meaning. We are insignificant specks of nothing. This truth is so harsh that we normally stuff it away in some corner of our lives and live our days in denial of it."
All three books share common Lovecraftian imagery, particularly the recurring motif of tentacles that choke, curl, and squirm throughout each narrative. These appendages serve as physical manifestations of the horror that constricts characters' expectations and draws them closer to the mutated terrors of contemporary Korean society. The tentacles represent the inescapable nature of the cosmic horror that Lovecraft pioneered, adapted here to reflect modern Korean anxieties and social pressures.
Despite their brief length, each work demonstrates remarkable efficiency in crafting horrific tales that deliver powerful emotional and psychological impacts. The authors skillfully subvert reader expectations, leading audiences down familiar paths before revealing shocking truths about the nature of reality and human perception. The stories suggest that what we typically accept as truth through our senses may be fundamentally flawed, and that genuine belief can lead to unwilling perception of terrifying realities.
The Lovecraft Reanimated Project succeeds in proving that cosmic horror translates effectively across cultural and temporal boundaries. By grounding Lovecraftian themes in specifically Korean contexts—workplace dynamics, university life, academic research, and traditional spiritual practices—these authors demonstrate how the fundamental fears that Lovecraft explored remain relevant in contemporary society. The evil that lurks beneath the surface of daily life proves to be universal, even as its specific manifestations reflect local concerns and cultural anxieties.
All three books in the Lovecraft Reanimated Project are currently available for purchase through dbBOOKS, offering readers an opportunity to experience how Korean authors are breathing new life into classic American horror traditions while addressing distinctly modern concerns.
